An immaterial artwork consisting real fire.The fire is continuously burning inside the space over the whole exhibition period. It seems like it is just the begin before the fire takes the whole space.

The heat and the flickering of the flames take the whole exhibition space into tension. It brings, on one hand the potential of destruction and danger of this element but also the domination over it, out.

Rock Print is an investigation into the constructive principle of the physical phenomena of jamming, in which granular matter can change from liquid to solid and back again. Rock Print exploits this characteristic with a congruent construction system that: 1) is informed by a computational design and realised with robotic fabrication machinery, 2) can be constructed into highly differentiated and load-bearing structures at an architectural scale using low-grade bulk material, such as gravel, and 3) is fully reversible. The construction system works as follows. To be able to control where and how gravel jams, the density between the aggregates has to be decreased to a level that forces it to behave like a solid. This can be achieved by introducing tensile reinforcement, such as string, to confine the gravel. A robotic arm enables the precise placement of string according to a digital blueprint and as such informs the shape and performance of a specific architectural artefact. To reverse the construction, the string is pulled, leading to a chain reaction restoring the gravel and the string to their initial state...

The British Science Festival and Brighton Digital Festival are looking to co-commission a new digital artwork that will be presented in a gallery space at the University of Brighton, Edward St Campus throughout the British Science Festival and Brighton Digital Festival (5 September to 13 October 2017).

We are particularly interested in works that explore and respond to themes of place: the shifting horizons of physical and virtual environments; the possibilities of technology to reimagine, reinvent and reinterpret space and place, and new opportunities to facilitate collaboration and connect people, place and things.

We are looking for an original artwork or a significant development of an earlier piece. Proposals can involve online work but a thought-out exhibition proposal must be included. Proposals should be aimed at a public audience and a focus on public engagement and participation will be viewed favourably.

We all glow. All living cells of bacteria, plants as well as (human and non-human) animals emit biophotons, extremely weak light emissions which cannot be perceived by the naked eye and are used in cell-to-cell communication in living systems. Instruments like photomultipliers tubes (PMT), however, are such sensitive detectors of light that they can detect individual photons.

Back in 2015, Mike and Susana from Thought Collider teamed up with artist Dave Young and researchers at Leiden University to build a kinetic sound installation around a Photon-Multiplier Tube.

Although the transformation of the functional state of the living organism into sound was an important dimension of the work, the artists and designers were also interested in looking at the processes and authoritative gestures that legitimise the collection of personal information and how informed consent is attained and defined.

On a very warm afternoon in April, the image of a bald young white man’s head floated on a gray screen at the Kitchen, in Chelsea. The man spoke in a tone that shifted worryingly between aggressive and confessional, punctuating his lines with two disembodied hands. “And I could have been your haruspex, sexy,” he said at one point, snarling. “I could have read omens in your extricated liver.” There were pale red marks beneath his eyes, a five-o’clock shadow on his jaw.

The talking man was the creation of the British artist Ed Atkins, who purchased the avatar for five hundred dollars from a Web site called Turbosquid and brought it to life using the software program faceshift, which maps the movements of facial expressions. This is the same type of object-recognition technology that is now used by Microsoft, whose Windows Hello program lets you unlock computers by looking at them, and by apps including Snapchat, which has adopted motion capture to adorn users’ images with flower crowns or dog faces.

At the Bartlett School of Architecture, University College London – the UK’s leading and largest Faculty of the Built Environment – we are starting a new 15-month Masters programme Design for Performance & Interaction offering students an opportunity to learning about Design in 4 Dimensions. Students will design the performance and interaction of objects, environments and people using the latest fabrication, sensing, computation, networked and responsive technologies. Emphasis is placed on prototyping, from interactive objects and installations to staged events, and performance architecture.

The structure of language – musical at its origin – is the source of this installation. Based on texts and melodies originating from operas telling the Faust myth (the epic of human curiosity and desire), the installation explores the underlying contour of language.

The work is made of industrial objects. 102 screens and speakers creating an emergent space, arranged in repetitive patterns. Blowing up the virtual into space. Phrases and melodies of the vocalists are constantly reproduced using machine learning software. Powerful algorithms, which transform the way we act and think, omnipresent in our society and in permanent interaction with us. A new version of Faust is created, fragmented and with varying degrees of legibility, recreated in light and sound movements.

It is a game with the boundaries of perception. The point where language loses its meaning and becomes abstract. Language which is pushed to its limits, where nothing is left but pure rhythmic and melodic structure. It is the organic nature of language, imitated by a machine. This reveals the proper poetics – in all its absurdity – of the digital.

ISEA is one of the world’s most prominent international arts and technology events, bringing together scholarly, artistic, and scientific domains in an interdisciplinary discussion and showcase of creative productions applying new technologies in art, interactivity, and electronic and digital media.

ISEA2017 invites to reflect on the contributions that art, design, and technology provide as alternatives for social development based on respect for natural biodiversity and having pacific coexistence of the communities. ISEA2017 welcomes submissions in three broad categories: academic (papers, posters, panels, and roundtables), creative (artworks, installations, performances, and design cases) and learning (residence, workshops, tutorials, artist or designer talks, and institutional presentations).

Today’s vocabulary of innovation is the ultimate rhetorical tool. It inundates dominant discourse, spreading from the field of politics to the sectors of work, education and art. At the heart of this prevailing techno-positivist context, collective DISNOVATION.ORG [aka. disobedient innovation] offers a dissection of the ideology of technological innovation through a series of critical hacks.

This exhibition presents alternative narratives to the "propaganda of innovation" by exploring: a parallel history of technologies from the perspective of their failures (The Museum of Failures), the ghosts of military engineering and science fiction in everyday technologies (War Zone, Floating Prophecies), the standardization of Western technological imaginaries (Shanzhai Archeology), and an anthology on piracy of necessity (The Pirate Book).

The second part looks at the friction spaces generated between hyperconnected web users and the global network - including hacks such as: a system to predict and subvert emerging artistic trends (Predictive Art Bot), an exposure of live peer-to-peer video exchanges (The Pirate Cinema), or a printed directory containing millions of restricted addresses commonly used to filter Internet access worldwide (Blacklists).

The Barbican and The Trampery today launch alt.barbican and announce the inaugural cohort of five artists selected for the major new accelerator for innovative artists working at the intersection of art and technology.

Over 230 practitioners applied to the programme and the selected artists, Dries Depoorter, Henry Driver, Jasmine Johnson, Ling Tan and Magz Hall were all asked to respond to the theme of ‘the subversion of reality’ with proposals for a broad range of projects including mobile apps, projection mapping, voice manipulation and wearable technology; exploring subjects as diverse as privacy and surveillance, body image, representations of gender and globalisation.

Delivered in partnership with MUTEK, the British Council, and the National Theatre’s Immersive Storytelling Studio, alt.barbican is a response to an increasingly fluid creative landscape. As new technologies open up previously unimagined expressive possibilities, alt.barbican’s six-month programme presents a new model of artistic support, drawing from entrepreneurial startup culture, to help emerging artists develop their carres...

Nelmarie du Preez is a South African artist based in Pretoria and London working in the fields of performance, photography, video and computational arts. In 2014 she completed her MFA Fine Art at Goldsmiths, University of London, where she also completed her MA in Computational Arts (2013).

Recently she formed part of the London Open 2015 at the Whitechapel Gallery (London), formed part of Home Works 7 at Ashkal Alwan (Beirut) and was selected for the International Digital Arts Biennale (Montreal). In the past two years she has been shortlisted for six significant international art awards and is the winner of the 2015 Sasol New Signatures. She was also selected as a 2015 Ampersand Foundation Fellow.

Du Preez is currently a lecturer in Visual Arts and New Media at the University of South Africa.

The cognitive scientist Daniel Dennett believes our brains are machines, made of billions of tiny "robots" - our neurons, or brain cells. Is the human mind really that special?

In an infamous memo written in 1965, the philosopher Hubert Dreyfus stated that humans would always beat computers at chess because machines lacked intuition. Daniel Dennett disagreed.

A few years later, Dreyfus rather embarrassingly found himself in checkmate against a computer. And in May 1997 the IBM computer, Deep Blue defeated the world chess champion Garry Kasparov. Many who were unhappy with this result then claimed that chess was a boringly logical game. Computers didn't need intuition to win. The goalposts shifted.

For the last 10 years, artist Ariel Guzik has searched for a way to communicate with whales and dolphins. Guzik’s project has encompassed the creation of underwater instruments, expeditions to contact whales and dolphins off the coasts of Baja California, Costa Rica and Scotland, and sound recordings of these remarkable encounters.

Guzik's Holoturian was a new work commissioned by Arts Catalyst and Edinburgh Art Festival in 2015. It was an installation of a new underwater resonance instrument, specially designed to communicate with whales and dolphins in the deep seas, and incorporated objects, drawings and films from the artist’s decade-long research project, which included a field trip by the artist and his team with Arts Catalyst to the Moray Firth in the North of Scotland to encounter the population of bottlenose dolphins that live there.

This panel will examine the recent developments of technology in contemporary art and highlight its importance in relation to a transition into a digital society.

Alain Servais (collector, Belgium), talks to Valentina Volchkova (International Director Pace gallery, Paris), and Hampus Lindwall (collector, Sweden) to assess the role of digital technology in art and discuss how it has changed since it gained public attention in the late 90’s.

Through the work of JODI and Felix Luque Sánchez, they will explore how artists are responding to technology as a new tool and the different aspects and problematics that digital and technological methods bring to light, as preservation, access and property.

This talk is a part of Art Brussels Talks 2017 and is coordinated with the help of : >> Selin Ben Mehrez & Vincent Matthu, founders of RLTY. RLTY is an online resource and communication tool for the development of new technologies in the art market. >>> Jacques Urbanska, digital art(s) project manager at Transcultures, Belgian Center for digital & sound cultures, Media Artist, art curator, and fouder of a large information web network on « Art(s) + Science(s) » thematic.

No Copyright Infringement Intended is a group exhibition exploring the relationship between copyright and culture in the digital age, investigating how the concept of ownership and authorship is evolving and coming into conflict with outdated copyright and intellectual property laws.

Since the 1990s the internet has provided the opportunity for mass copying, redistribution and remixing of content – profoundly changing the way culture is produced and shared and sparking legal battles and debates that still rage on. Today, the increasing availability of technologies like 3D scanning and 3D printing have extended the ability to digitally copy and reproduce to the physical realm.

Organized by Victoria Bradbury and the New Media 420 Advanced Interactive Design students

Hackathons first emerged in the commercial tech sector where people meet to engage in collaborative computer programming. Art Hacks branch off of this phenomenon while also stemming from art historical precedents of collaborative making practices in the New Media field. At this event, groups will combine computer code with traditional art materials to co-create projects. Hack It! DIY Dystopia will engage participants to combine code, microcontrollers and cardboard to envision, prototype and develop survival-oriented materials.

This event will involve two UNC Asheville classes. It is led by NM 420: Advanced Interactive Design with students from ARTS 178: Powerful Stories Freshman Colloquium as participants. Collaborative teams will work together for five hours to create a final techno-sculptural project considering the themes of survival and technology. (Anyone is welcome to come and observe the process while also participating in short-term hands-on activities on-site).

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